MUSIC
40 THE BIG ISSUE 6 – 19 JUNE 2014
If it’s true that Obese Records signed
Thundamentals in 2008 to help fill the hole left
by the departure of Hilltop Hoods, The Funkoars
and Downsyde (three of the label’s biggest
acts), now comes the almighty pay-off. Over
the past 10 months, Thundamentals have built
anticipation for So We Can Remember on the back
of exceptional singles that showcased a new side to the Blue Mountains crew:
one coloured by rich, complex music and double-timed vocal gymnastics. But
it turns out it’s the dark guts of the trio’s third LP (tracks ‘Elephant in the Room’
and ‘The Ground Hog Song’) that truly set it apart, the three young men intent
on questioning both themselves and the world. The 13 songs are layered with
dense, evocative production and lyrics ripe with subtext. Thundamentals have
most likely released the best Australian rap album of 2014, and maybe one of
the smartest records in the local genre’s history. MATT SHEA
SO WE CAN REMEMBER
THUNDAMENTALS
**** 1/2
Chrissie Hynde’s voice hasn’t changed. You’ll
hear the same throaty murmur from The
Pretenders’ 1979 debut on this, her first album
under her own name. Recorded in Sweden with
Björn Yttling of Peter Björn and John, it could
easily be a new Pretenders album, even with the
pop sheen Yttling puts on it. ‘In a Miracle’ and
‘A Plan Too Far’ continue exploring the twangy Americana of The Pretenders’
Break Up the Concrete (2008); the latter song has guest guitar by John
McEnroe, of all people. The tennis star’s lead flashiness is less impressive than
Hynde’s propulsive, rhythmic rumbling. You’re as consistent as a weather vane
cock, Hynde sings (you can guess where she puts the emphasis). Neil Young
lends a wailing fuzz solo to ‘Down the Wrong Way’, another slice of classic-rock
revivalism, and ‘Tourniquet (Cynthia Anne)’ is a timeless, haunting murder
ballad. Fifteen years ago in ‘Popstar’ Hynde was singing: they don’t make ’em
like they used to. They still don’t . JODY MACGREGOR
STOCKHOLM
CHRISSIE HYNDE
****
CHRIS MARTIN’S SPLIT with his wife, actress
Gwyneth Paltrow, was heavily reported upon in
March, and so has been its influence on the new
album by Martin’s band, Coldplay. Or rather,
the influence of the year leading up to the split.
Ghost Stories documents the gradual process of
reaching acceptance after a painful breakup.
One could argue that, of all the subjects
warranting a concept album in the rock canon,
a breakup is very low on the list. But just as
every person views the world uniquely, Martin
shouldn’t be dissuaded from the topic simply
because so many others have covered it. I’m
no great fan of Coldplay, but Ghost Stories is
interesting to me for the soothing quality of
the music, the openly therapeutic lyrics and
the spacious, low-key production. It feels more
human than previous Coldplay albums, though
the keening edge of Martin’s voice can still grate.
A key part of enjoying Ghost Stories – and
many won’t – is accepting the maudlin, love-
struck references in the lyrics. On ‘Magic’, he
sings of being broken but still calls it magic
when I’m next to you; the album’s opening line
is I think of you. While my patience thins when
Martin employs a flock of birds and other sappy
metaphors, the band’s experimental streak
usually redeems his whisper-weight ballads.
Coldplay turn to stripped-back R’n’B trappings
on ‘True Love’, to full-blown dance music on ‘A
Sky Full of Stars’ and to lost-in-space vocoder
and synth motifs on ‘Midnight’. It’s easy
listening, forged from painful life experience.
DOUG WALLEN > Music Editor
In the time it’s taken to follow up It’s Happening
(2010), Straight Arrows’ distinctive sound
has spread far and wide, partly due to singer
Owen Penglis’ astonishing run of production
credits. Another band might be tempted to
distance themselves from a scene they helped
to create, but beyond the upgrade from lo-fi
to slightly less lo-fi, Rising is business as usual for Straight Arrows. After an
uncharacteristically downbeat intro, the band quickly locate their sweet spot:
buzzing, sneering, gleeful garage rock, with a distinctly mod aftertaste and
loads of hooks. Penglis’ bratty delivery has the right amount of urgency, which
is handy because you can’t really hear a word he’s saying. The attitude is
more important than the specifics of the message; in truth, the attitude is the
message. Sure, their sunny, scuzzy sound isn’t quite as fresh as it once was, but
these guys know exactly what they’re doing. Just try listening to Rising without
cracking a broad grin. EDWARD SHARP-PAUL
RISING
STRAIGHT ARROWS
*** 1/2
GHOST STORIES